Danny Writes Plays: Tyler and Selena

So, we’re entering the final stages of pre-production for a webseries that two friends and I have been working on for a year now. Soon, very soon, we start filming, which is exciting. The chance to see these scripts we cranked out brought to life, and to share them across the Internet. Which of course will be followed by months of stress about how we’re going to get people to watch them, but that’s a tomorrow problem.

Day’s gonna come when I’m going to be talking a lot about the show on this blog. The obvious starting point seemed to be to do a “Danny Writes Plays” entry on the script that we adapted into the series, but… well, I haven’t made it that far, and skipping ahead seems like it kills the flow. So, may as well start catching up.

Which brings us to this: The Very Long Night of Tyler and Selena.

 What’s it about?

Office drone Tyler Jenkins is trying to juggle a special dinner with his girlfriend Cindy and prepping for a big meeting the next morning, when Cindy unexpectedly (to Tyler, at least) breaks up with him, and instead of dinner Tyler leaves to drink alone. At the bar, a woman named Selena bursts in trying to stay unseen. Selena, and her duffel bag of unknown but unpleasant contents, are on the run from notorious killers Vic and Jess, and after trying to do her a favour, Tyler finds himself stuck in the middle, with little choice but to stick next to Selena until he can find a way out… a plan Selena doesn’t care for at all. They run from hideout to hideout, finding safe haven where they can with Selena’s friends and informants, but it slowly becomes clear that there’s no easy way out for either of them, and they’re in for a very long night.

So why’d that happen?

So, remember a while back, when I talked about The Course of True Love and the Curse of the Jade Monkey, and how it had so many flaws I saw no choice but to burn it down to the basic premise and start over on a white piece of paper? Well, here we are. This is when that happened. Average guy, woman of mystery, dragged into quest, hopefully with a few layers of stupid and terrible scraped off.

Step one: I made Selena basically the anti-Maya. Where Maya was instantly and inexplicably attracted to Jordan, inserting herself into his life, Selena basically wants nothing to do with Tyler, but puts up with him out of a shred of respect for the fact that he’s only in this mess because of his misguided attempt to help her.

Step two: no more globetrotting. I saw a play at the Vancouver Fringe called The Doctor is Sick, in which a doctor, who was prepping a lecture on the evolution of cockney rhyming slang, escapes from a hospital and goes on an adventure among the underbelly of the city. I thought, if this show could have constantly changing locations and taxis and whatnot done through minimalist set, surely I could too, and made this story take place over a single night, albeit many, many places.

Step three: realizing that the Macguffin doesn’t matter. The Jade Monkey had a complicated and ridiculous backstory, but neither Tyler nor the audience ever learns what’s in the duffel bag, only that it’s both valuable and terrible.

Step four: no Travis. Well, I ended up backsliding on this one. Intrepid reporter Travis Thompson does, in fact, make a return appearance, but what’s important is that this time he wasn’t given his own subplot. Travis exists solely to advance Tyler’s story: indicating that all was far from well between Tyler and Cindy, then returning to give Tyler key information. He services the plot, rather than trying to steal the spotlight.

Step five: better villains. I’d been experimenting with “funny yet menacing” villains for a while, but for this one… for this one I finally admitted to myself why. And the reason was, I was trying to find my own spin on Mr. Croup and Mr. Vandemar from Neil Gaiman’s Neverwhere. I didn’t want to just copy them, so I tried Helena Von Drax and Manservant, Big Jim the mafia henchman, and Rose and Stern the goons. But then Terry Pratchett wrote The Truth, his 25th Discworld novel, which certainly seemed to have characters based on, or at least modeled in a similar vein to Croup and Vandemar, so I said “screw it, then,” and thus came Vic and Jess, Things Dealt With. Vic, short for Victoria, was the chatterbox, and Jess the strong, silent partner. Although I did what I could through reputation and unseen fights to imply that neither of them were to be trifled with.

Step five: less exposition. Not no exposition, just… less. Well, it was a start.

The concept for this show started coming to me almost immediately after Jade Monkey wrapped for the second time. But regular readers will remember, that’s also when I started work on Heracles for the 2004 Fringe tour. So I had to sit on this idea until Heracles was ready to rehearse. Which took around nine months. The second it was done and rehearsing, I jumped into Tyler and Selena. First draft was done in 11 days. Might be a personal record.

How’d it turn out?

Astute readers will also remember that the thing that started me down the road to scrapping Jade Monkey in favour of Tyler and Selena was the idea of doing it as a movie. And the movie idea was very clearly still in my head, because despite all that stuff I said about The Doctor is Sick, this is a screenplay. It is a screenplay that I shoehorned onto a stage.

That said, it mostly works. The staging difficulties caused by writing a screenplay for the stage do their damage, as every scene requires some exposition about where Tyler and Selena are, but I made that as organic as I could. The wit still mostly works. The characters are still good. It’s still a fun show. Not one of my crown jewels, but not one of my embarrassments, either.

Would you stage it again?

It could use some touch ups… the pacing’s not quite where I’d want it, there is still a clunky “Let’s swap backstories” scene, and Selena could use more of a story. Right now she’s drifting close to Manic Pixie Dream Girl territory, only there so that Tyler can learn about himself. I’d want to fix that before anyone did something with this script, or at least try to.

Also, it’s a screenplay. There’s no getting around that. As a stage play, it lacks the visceral energy that The Doctor is Sick had, something it needed to make the cross-town adventure work right on stage. In a movie, you could get that energy by actually having the characters able to move any amount of distance. Well, and I could punch up the script a bit. That pacing issue I mentioned.

Of course the real issue is that I know nothing about making movies. Permits, equipment, and most importantly distribution are all mysteries to me. So after at least one go-nowhere attempt to film this thing, I’ve started replying to any query about doing this or any of my scripts as movies with “Sounds great, let me know how it works out.”

Repeated theme alert

  • Something something pop culture reference: Aaron Sorkin once wrote the line “Good writers borrow from other writers. Great writers steal outright.” I hope he meant it, because on page 6 I stole a line from Sports Night.
  • Let’s sit and exchange backstories for twenty minutes like that doesn’t kill the pacing! There had to have been a more engaging way to convey how Selena ended up with this bag.
  • Tyler isn’t quiteThe quiet, average guy the ladies unaccountably love,” because for most of the play Selena’s tolerating him at best… but he’s close. Still, at least he actually does things to earn affection.
  • The funny yet menacing villains: a friend said to me, after reading the first draft, “You’ve done it. You’ve mastered the villains who are funny yet menacing. Now stop.” Good advice.
  • So how is this one about your divorce? A huge part of Tyler’s arc is about realizing he’s not in love with Cindy anymore, and that’s okay. So this one’s about letting go.

When next we visit this series, prepare for the return of some old friends from old scripts.

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